In Intro Psych for Subtle Artists, there's a discussion of what subtle artists do with their own minds, and how this differs from everyone else. Bella has already talked to all her subtle arts professors about her own peculiarities, and Professor Murray has her talk a bit about how she's used lucid dreams for introspection, self-modification, and memory boosting. Professor Murray then explains that people who aren't subtle artists can only rarely lucid dream, and even those who can don't find it an effective jumping-off point for any heavy-duty self-searching.
One of the elves in the class looks at Bella oddly through her little talk.
But she doesn't say anything, so Bella ignores her.
But no part of the campus is invariably occupied. She happens to be in such a variably occupied portion of campus during a trough period, on her way back to Thatcher from an early dinner at the food court, when school has been in session for three weeks.
...Bella comes to a slow stop. She doesn't think she wants to talk to anyone who chooses to open with "lovely human girl" - as opposed to, say, her name, or a conversation topic - but she's not sure where the elf or elfblood who's whispering at her is. Which means they're very far away - or someone is blocking her, which she supposes is only fair, since she blocks everyone else.
"I'm not. Especially if you require true love - I'm not sure what that means but it probably doesn't involve twisting my mind around in response to threats." She notes the gender composition of her surroundings and what she remembers about elves of an age to be students at MU. "...Also, I'm straight."
The elf who may or may not be in her psych class declines to answer.
"Are you blocking me?"
The declining continues.
"Hi, Celo," she says, softly. Maybe he'll get the hint that she said his Pax translation instead of his real name.
Two of those between Bella and Celo start toward him with deceptive elven speed. He saunters backward with his hands clasped carelessly behind his back, then at the last second brings them forward again holding paired daggers. One finds a throat, the other a stomach.
There is a moment of stunned silence before all the remaining elves rush him in a shrieking mob.
She tries; she bounces off the subtle artist's shields and the screen comes back. So much for that.
The difference is, grievous harm doesn't stick to Celo. And the elves seem obsessed with his genitals. If someone would take a swing at something other than his crotch once in a while, this might be a more even fight. As it is, even when one girl almost severs the offending items with her dagger, he runs her through with a sword he wasn't holding a moment ago as golden light flares from the wound.
Wait, she shouldn't just wait for him to take her out. Any minute now the subtle artist elf will determine that he's more of a threat than Bella is and start attacking instead of screening.
Bella stands ready to pounce on any drop in the screen to set up a shield around Celo.
When he pauses to heal the pair he stabbed first, retrieving those daggers in the process, the one remaining opponent who is not a subtle artist pounces on him from behind and rips her knife across his throat. The cut has started healing almost before she finishes making it, but it's deep. There is a lot of blood.
Bella's good at blocks. She's not as good at blocking for someone else as she is at blocking herself - but she's still very, very good. She couldn't break the elf's screen and the elf can't break her wards.
The elf subtle artist whirls and comes at Bella with a knife. Bella quicksteps back, but she is not going to be able to outrun an elf, boots or no boots.
Bella recovers some of her presence of mind and, still clutching at her face, makes another attempt on the other subtle artist's mind.
Concentration is key for opposed subtle arts.
The elf has less than Bella at this moment.
She falls unconscious.
She finds one satyr.
[Celo's name] quote needs to get laid end quote. He's halfway between Thatcher and the dining hall, on the path that goes around the little hill.
Bella trots off briskly in the direction of Thatcher Hall. She goes to the dorm ball room, writes up a complete description of what happened between her and the elves (summarizing Celo's involvement only as "violent rescue by another student"), and submits it to both her R.A.s, the student council, and four likely looking faculty a-mail addresses from the university weavesite. And her intro psych teacher. She doesn't send it to her parents, but she implies that she might, in the last paragraph after her paste of (distressingly minimally worded) school harassment policies.
There is a hall meeting the following afternoon, with pizza and cupcakes to entice everyone to show up, which works on about three-quarters of everyone. Bella shows up more because she's actually potentially interested in having input on the possible hall bonding activities that could be decided on. (The current contenders are apple picking, going swimming in a lake up-province, and making the RAs arrange a scavenger hunt. None of these strongly interest Bella, but someone could come up with something else.)
Bella laughs softly and goes through another few flashcards, then says: "I emailed a bunch of people about those elf girls. No response yet. I guess I'll take better-traveled routes; they might come after me again. I don't know about you. But you can obviously defend yourself."
Bella shifts uncomfortably in her chair the way she usually does when divinities are brought up. Mama Kh may or may not care what Bella thinks of her morals; she may or may not have the power in her portfolio to read minds through subtle artist shields given that her focus lies elsewhere; she might or might not be in a punishing mood on any given day. Bella's task is to avoid finding out.
It comes with a vivid, and shockingly pleasant, sense memory of being eaten alive - not euphemistically - by a needle-fanged fish-creature. He did not entirely mean to transmit that part, but it makes his point pretty well.
There are other anthropophagic species on campus who aren't torn apart by angry mobs. I don't want anyone to die, and the revelation probably would lead to unrest for the first while, but there are a lot of mermaids, only a handful of them are currently in mob range, and there are a lot of other people around, and a lot of other people who don't exist yet but will in the future, who could save their lives knowing what you just casually told me.
She considers arguing with him. She decides not to bother. If he doesn't care, he doesn't care. If there's a way to make someone care, she doesn't know it, and wouldn't do it anyway because that's one of the things she cares about.
Instead she says:
Why did you tell me, then? If it doesn't matter if people die unless they eat you alive when you ask nicely?
I'm not reading your thoughts right now like I was in lab, I'm just accepting deliberate sendings. It's not exactly like talking aloud because it's minus body language and plus optional sense-memories and so on, but I'm not spying on your inmost thoughts, I'm going by what you say. One of the things you've said to me so far in our acquaintance is that I'm an asshole.
Nursing an active emotional hatred doesn't always accompany thinking someone is an asshole. Not all opinions about nearby people float to the surface during every one-hour period. And I try to judge people more on what they choose to say and not on what idly crosses their minds.